Review: Following on from their 'Seraphim / Firebird' single which picked up heavy hitting support from the likes of Seth Troxler, Skream and Steve Bug the multi-talented duo deliver a sublime offering in 'Worship', along with a deeper remix from Lance De Sardi. The impressive and unique artwork accompanying the release is based on a woodcut by What's great grandfather Conrad Felixmuller.
'Worship' pulsates into life through dusty percussion and shimmering atmospherics; Qzen's spoken word vox gracefully dominates proceedings for the most part (the words of which are taken from a poem by British poet Patience Agbabi) while mechanic modulations and a cosmic sh101 hook combine to dish up a warm off-kilter techno cut with an subtle yet infectious groove.
Lance DeSardi has built up quite the back catalogue over the last decade on labels such as Black Catalogue & Planet E along with his own imprint Legwork, as a close friend of Dan and James he steps up to remix 'Worship'. His re-imagining picks up the pace somewhat by resonating a snippet of Qzen's vocal uttering "straight to my heart" over shifting percussion, soft pads and whirring atmospherics which lend themselves perfectly to her silky voice in this excellent final offering.

Review: The Manuscript mission rolls on unabated as the Ukranian label pairs long lost deep house gems with more contemporary productions. Slam Mode's "Morning Side Dr" is a gorgeous cut laden with plush synth tones to melt the hardest of dancers, while Dennis DeSantis' "Leisure" feeds touches of EBM into a mellow, dubby construction that spans styles with ease. Label boss Vincent Inc joins up with Jon Da Silva for "Thinkin About U", which Questionmarq turns into a delightfully quirky remix before Sasha Makin and Suntetic round the EP off with the epic "Drumatik".

Review: Mr Bongo's Brazilian 45 series hits it's ninth gear with two region-defining slices of sun-kissed samba soul. Doris takes the lead with delicate frontage. Leading from the front, all instruments follow her cues and mirror each vocal flourish with mild big band cheekiness. The instantly distinctive "Tudo Que Voce Podia Ser" from sister quartet Quarteto Em Cy is a great twist on a Latin classic with its slightly rocky guitars and full bodied harmonies. Previously released in 1972, a return has been long overdue.

Review: Carsten Jost, Lawrence and Bianca Heuser's Dial Records imprint recently celebrated 15 years in business with the CD-only All compilation of previously unreleased fare. Here, some of those tracks come to vinyl for the first time. Stefan Tcherepnin kicks things off with the delicate, Japanese-influenced downtempo pop of "I Want To Be Art", before DJ Richard reaches for the Detroit techno cymbals and jazzy chords of the wonderfully wonky "Zero". Flip for the atmospheric, beatless electronics of Christian Naujoks, the deep techno lusciousness of Pantha Du Prince's "Timeout On The Rocks", and the shimmering, spacey ambience of Queens' impeccable "Earth Angel".

Review: To complement Dark Was The Night, the latest excellent commercial mix of Optimo's storied discography, Mule Musiq have pulled four considered highlights from the CD for this 12" sampler. Listening to the four tracks featured here in isolation from Dark Was The Night only magnifies what accomplished DJs JD Twitch and JG Wilkes are, and highlights their digging skills with the period in which the music originally surfaced covering the late seventies and very early 90s. "I Won't Hurt You" from QX-1 is sleazy, suggestive deep house from the early 90s that will appeal to fans of same era K Alexi Shelby, whilst "Psychodalek Nightmares" is a killer new wave from The Freeze. Odori's "Number One" is super rare deep house from '91 with a killer S&M drum snap and a surfeit of new age samples whilst "Dream Baby Dream" from Angel Corpus Christi has last track written indelibly into it's DNA - no surprise then that it closes the mix!

Review: Mystery electro trasher Q Chip lands on the young and poker-faced Gnosis label with six magnetic shocks of metallic drum music with a distinctive sound from Den Haag. In fact, Q Chip's debut came on the mythical Bunker Records back in 2012, and for all we know, he could be Guy Tavares himself. However, all you need to know is that these six stray bullets of post-industrial war-dance are as fast and as furious as anything that's come out of Holland's electro scene, and each one is more deadly than the last. "Reality Tunnels" is our favourite purely because of that noxious electro squelch trail that it leaves behind, but "Quantum Jumping" could just as easily make the rewinds for us. The title track "Access Consciousness" is perhaps the maddest part of this cerebral EP, and the sort of tune that could mix in quite well in a Metalheadz d&b set circa 1998. Dope.

Review: Celebrating 20 years of CIA (and switching from The Funky Technicians to Total Science) Quiff and Spinback have curated an almighty album with some of their label's most popular artists alongside a bunch of label debutants. Here's a taste of the LP with DLR's sinewy tech take on Quiff's 93 agenda-maker "Champion Sound", a sultry slice of piano gold from Calibre and dubbed out stepped jam from the guys themselves as they pay homage to the likes of Digital and Spirit with "Respect Due". Immense.

Review: In amidst a veritable deluge of seven inch-shaped sharpness from Japan's crucial Soul Garden label this week comes this absolute must grip 45 session from Q.A.S.B. The nine-piece Tokyo funkateers have been holding it down since 2005 and this seven picks out a horn heavy highlight from last year's Q.A.S.B. III LP in the shape of "Good Guy." Throwing down a similar vibe to the Quantic Soul Orchestra, this track is all about the lead vocal from Amy A and those warm, tooting horns. Face down and QASB engage flipmode, slowing the tempo down and cranking the sass up on "Bad Boy". If seven inches were vegetables this would be one hot pepper!

Review: Prior to joining up with Lobster Theremin for this volume of their white label series, Qnete's output had largely consisted of powerful but spacey tracks in an intelligent techno-meets-classic Detroit vibe. While hints of that style are still present on his first Lobster Theremin outing, there's a much more "classic deep house" feel throughout. Opener "A Luv Jam" comes across as the sort of expansive, star-gazing, Larry Heard inspired jam that moves the head just as much as the feet, while "I Might Be Wrong" doffs a cap in the direction of the Motor City whilst retaining an early '90s feel. As for flipside "Dresden", it offers a magical fusion of fizzing, Chicago-inspired drum machine rhythms and spacey, almost endless deep space chords.

Review: The mysterious Qnete tied off 2015 in fine style, landing on London's Lobster Theremin with a saucy little white label that rocked our speakers out. He's back early doors in this new year, and he's landed on the shadowy ZCKR label with a phat slab of electro that'll wake you the **** up, and take the dance floor by the balls. The one-sided plate, entitled "Grey City Anthem", is a storming slice of dark, neural electro funk that sounds like it's been constructed in 3D. Huge moulds of acid unfold onto grainy drum machine beats, and a swarm of disjointed, raucous bells. Hard stuff, good and proper for this time of the year.

Review: The many faces and fusions of James Reeno continue as NYC drop another white hot, super-limited 45". Concentrated funk is main message across both sides as James switches persona and hooks up with inspiring compadres along the way. "Funk Weapon" lives up to its name as Reeno's bubbling bass zips and zaps beneath some salubrious guitar work from Mano Reza. "Don't Funk Wid Us" sees him donning a trippier, more introspective funk as Kozmik Funk. Loaded with Oakland's finest E.Live on the pads and peppered with subtle talkbox tones, the message is clear: it's not a good idea to funk with these cats. Essential.

Review: The North American jungle assault continues as Dispatch welcome an old friend (Quadrant) and a new one (NC-17) for this powerful double-tracker. "Dub Central" is a lean warp-focused track where a pulsating bassline groans over the anchored kicks. NC-17 goes it alone for "Only One Way Out". Upping the savage factor a notch or two, there's more of a shred to the bass as it rips through the spectrum with a classic air of Renegade heaviness. Muscular.

Review: Metropolis- is it an actual city or a digital fantasy; a construct formed inside a synthetic brain? Either way this is the soundtrack to a city that exists somewhere. A place that comes alive at nightfall and breathes artificial light until dawn. Where millions of human threads interweave, and a machine conciousness drifts by on the periphery, searching for an intimate connection. Limited pressing. Vinyl, tape and digital.

Review: After the late nite, neon-red funk of his last release 'The Digital Fantasy' (which picked up support from the likes of Benji B, Alexander Nut & Ross Allen), Quaid returns with a new ep: 'CFE'.AIn contrast to the strung out, hazy eroticism of 'The Digital Fantasy', here the heart rate has elevated and the signals pushed further into the red. 'Nightlyfe' best illustrates this with its rough hats, minor chords and irrepressible rhythm. 'Body Forms' is a nod back to the hydraulic, locked funk of Quaid's previous releases, whilst 'Tango' offers Huerco S style synths under subverted Prince Housequake-era drums.A'99%' weaves around a driving bass algorithm and the insistent vocal refrain supplied by longtime collaborator Dziko.A. There's a change in mood here, the night has passed and sunrise is moments away. Lights on tomorrow's horizon glint endless glass, dust and chrome...

Review: Yanneck "Quarion" Salvo has been relatively quiet of late, with his last 12" dropping midway through 2014. This, then, is a welcome return. The four cuts gently pull in subtly different directions, with the blissfully spacey synth melodies and long builds of "Lost Coordinates" being followed by the bass-heavy, deep house basement funk of "A Thousand Questions". Flip for the relentless organ stabs, shaker-heavy grooves, twisted synth lines and bumpin' bassline of "Burnin", and the fantastically broken P-funk workout that is "You Were The Only". If you enjoyed 2000 Black's "Make It Hard" on Rush Hour, you'll love "You Were The Only".

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